Mika's Album Covers

The Film Dreamworlds III examines the explicit nature and the objectification of women in music videos across music genres. A similar theme is presented throughout these various music videos as women are sexualized and exploited. In addition, many music videos display the domination and antoagonizing nature of a man controlling the numerous women submitting themselves to him. The portrayal of these images in music videos advertise and influence audiences to accept this behavior on screen, which in turn strengthens aggressive masculinity and the pornography of women.

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

Upon walking in, the first piece seen is a new work created by Murakami called, “Transcendent Attacking a Whirlwind” this 59 foot long work is vibrant, richly colored work with dragons, human figures and swirling winds is inspired by a seven paneled painted screen by the same name by Soga Shohaku. These to prints are facing each other on parallel walls, both depicting a similar narrative of a Asian warrior striking at a beast, the strike is so strong it creates and air current that creates giant waves. Murakami expands the narrative adding two new figures a god like figure and a Japanese death demon or Shinigami. This adds more to the overall narrative showing the two new figures creating and destroying the seascape. Overall both

This piece was created during a time of political and social change. Increased political awareness and a focus on celebrity demanded art that was more

My Sentiments Exactly is Zawada’s second solo exhibition at Sarah Cottier Gallery. Previous solo shows include Real3D 2014, Over Time 2011 and Free Roam Above the Mist 2012 at Prism gallery Los Angeles, Kindred Spirits 2012 Colette Paris, Boolean Values 2008 Monster Children Gallery, Sydney. Group exhibitions include Disorder Disorder 2010 Penrith Regional Gallery, Posters of Fortune 2011 Type Directors Club New York, New Moon 2008, O 2011 and Summer 2013 at Sarah Cottier Gallery. Recent design work includes the artwork for Australian electronic music duo The Presets and textiles for Romance was

In the album it talks about heart break and change. This album seems to reminisce on times when they were with a girl and she has changed, it isn’t the girl that they use to know. The Beatles are still expressing how they feel in the song “She’s Leaving Home,” it talks about how she is leaving but never once is anything negative said about her. The Beatles weren’t whinny in their songs, yet stilled showed emotion. The overall album is fun and has a happy, light mood too it which makes it enjoyable to listen to.

One way he gets his topic across in the text is through his use of symbolism. This song follows the early years of a young Macklemore and his pursuit for identification through the means of consumerism. Macklemore starts the song by saying that he bought his first pair of $100 Nikes to impressing his friends and make him feel better. He explained it as being in an "air bubble" "momma, this air bubble right here, it 's gonna make me fly" meaning that he was already totally submerged in the consumerism culture at only seven years old. The air bubble symbolises how he has been sucked into consumerism and he is trapped in this

In 2001, he started a band, My Chemical Romance. Him, his younger brother, Mikey, Ray Toro, and Frank Iero were in it for a dozen years, making four albums. The name originated from a book; Ecstasy: Three Tales of Chemical Romance. When the band started, Gerard had been struggling with alcoholism and prescription drug addiction. He managed to pull away and come through it, becoming stronger and inspiring and helping many by becoming sober again. On Friday, March 22, 2013, he announced the band's breakup. He explained that it was nobody's fault and that it was time it ended. The band went into solo careers and Gerard released an albums, "Hesitant Alien". Now he lives in Los Angeles, California with his wife, Lindsey Ballato and his daughter

From the tragedy of “Julius Caesar” to the coming of age of “To Kill a Mockingbird.” these stories have a profound effect on us as humans. In music much the same is also true. Singular songs, such as The Kingston Trios’ song “M.T.A.” tell light hearted tales of a man trapped on the subway. In other ways, whole conceptual albums can be created to tell complex stories, such as Green Day’s 2004 hit album “American Idiot” which touched on topics like love, religion, American society, and war. These stories can be deep and personal as well as funny and light hearted. Everything like introspection and depression, in 1994’s “The Downward Spiral.” to politics and corruption like 2007’s “Year Zero.” show off how dynamic music’s ability to tell stories really

The undetailed faces, while being curiously ominous, don’t provide enough details or focal points for some viewers to hold onto a the collage is strewn all over the place; while some viewers may conclude that the brooding man is the focal point, others might designate the boy as the focal point. The colors used are drained, boring, like something your grandmother’s linen might be. This cover is too ambiguous and exhausted to keep the attention of anyone beyond a fan of the author or an enthusiast of the genre. They say that you can’t judge a book by the cover, but anyone in the book industry knows you can’t rely on the name of an author to sell the book. The cover would do much better to choose one thing to focus on, such as the creepy boy, with a contrasting background, giving viewers something to focus on and more saturated colors to direct their

The animated illustration is enjoyable to examine, while giving the reader more to consider when comparing it to cover A. There are two people on the cover that don’t appear as old as the man from cover A. With the two white males sitting down on chairs, the older man appears to have his hand on the boy as if he is stating a momentous subject. On the top of cover B lets the reader now the movie is in a major motion picture, which encourages people to go watch the movie, influencing a person’s choice to pick up the book. Occasionally young adults read novels that have movie, so they can have an enhanced understanding for what is going on in the book. Also on the cover there is a quote from New York Times persuading the reader to pick up the book by calling attention to how powerful it is. Next to the quote in silver circle on the upper right corner of the book it mentions that it includes a exclusive question and answer with Taylor swift, which may appeal to young adults who like the celebrity. At the bottom of cover B it is mentioned that the novel is a winner of the Newberry medal, which can be compared to Cover A where it actually has the

Mombassa's work of art is in two unmistakable styles. The type of artwork he designs for Mambo – almost cartoonish and in vivid colours, incorporating religious, political and popular culture themes and his landscapes and portraits, many of which are

It was my pleasure to look Motherwell’s artwork and explore deeper meaning to understand his artistic world through a flat canvas. Motherwell tried to create an image that can represent our world and people’s psychological mind toward to that surroundings in his own artistic way.

In his article “Did Stones Sell Their Music Short?,” in Billboard, Timothy White argues that “[i]f the artist actually appreciates and uses the product, then such ringing musical endorsements are concordant with the desired perceptions of impressionable consumer.” White exemplifies that if the artist actively “appreciates and uses the product,” then it is justifiable to write a song about it. If an artist wrote a song about a product that he or she did not like to use, then that artist is utilizing that music for the sole purpose of making money. Music in its purest form should be created for the enjoyment of the band’s fans, not for the lone purpose of making money through advertising products. To substantiate his claim, White provides an excerpt from an interview with Collective Soul singer, Ed Roland. Roland states: “’A computer company offered us a million dollars to use ‘Shine,’ but the song wasn’t written for or about a computer, so that was out of the question’.” White uses this quote to convey that true artists would not sell out their music to companies if the subject matters of each song had nothing to do with the commercial. Roland agrees that it is reasonable for a musician to sell their music to a mass marketer, as long as the song is in agreement with the product, but he does not feel that his artwork

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.